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Researchers put bright patterned sleeves on 94 hunting cats, and the birds they brought home fell by nearly two-thirds — the colors made stalking cats easier for birds to spot, while their success against mammals barely changed
A simple wardrobe change revealed a blind spot in predators: birds evolved to spot danger, but mammals didn't.
The core anti-Pangram constituency is phony writers
Welcome to The Closing Argument, our verdict on the news, plus everything The Argument published and appeared in this week. The Verdict, by Kelsey Piper A lot of people hate AI for drowning the internet in slop and displacing human creatives. You might think that these people would be thrilled by a program that can identify and flag AI-generated work. But many people who hate AI also hate Pangram, an impressively accurate AI detector that produces very few false positives, according to high-quality independent research. This loathing found its most recent expression in a bizarre Wired article that amplifies a wide range of false arguments from Pangram skeptics: that AI detectors are racist (they’re not) or ableist (they’re not)1 or don’t work (this one does)2. Rather than starting from the premise that it would be really valuable to have a working AI detector and scrutinizing Pangram to make sure it lives up to that promise, the article starts from the premise that Pangram obviously has bad vibes and sets out to discover why. (One answer: The CEO microwaved lunch during an interview!) Why aren’t writers who resent Pangram more eager to distinguish themselves from posters who are having ChatGPT ghostwrite all their work? There are a few different things at play, but I think one key dynamic is this: These are often the same people. A core constituency for arguments like Wired’s is “writers” who are using AI to write their posts but resent this fact being made public. They stand to lose from AI detectors because AI detectors call them out. Share When Substack announced a partnership with Pangram, a sizable fraction of the platform’s authors rose up in outrage. Some people had experience with other AI detectors that didn’t work, and some felt that AI writing ought to be encouraged — both of which are fair enough. But the fury was fueled by authors passionately insisting that Pangram kept wrongly accusing them on almost every post they published. Pangram can be wrong, especially on short passages. But in the overwhelming majority of cases where Pangram looked at a whole blog post rather than a single paragraph, the program correctly detected work as AI. Even if we can’t be 100% sure in any individual case, we can notice the trend in the aggregate. Wired quotes Sam Illingworth, a professor of critical AI literacy at Edinburgh Napier University, who said, “I don’t think [AI detectors] work. … I think that detectors are prejudiced against certain people.” This spring, he said that he used AI for research and editing; this summer he acknowledged that in addition to research and editing, he also uses it “now and then for a turn of phrase I keep.” Pangram informs us that most of his posts are 100% AI-written (some are mixed AI-and-human) and that 100% AI-written posts started appearing last year. The favorable interpretation is that, as someone whose recent work Pangram consistently mistakes for AI, Illingworth sees Pangram’s flaws firsthand. The unfavorable interpretation is that the tool’s credibility trades off against his own, because its account of who writes his posts is not consistent with his. Illingworth is not alone in insisting the detector does not work. “It’s a Monday night in late July, and I’m pasting my own Substack draft into an AI detector for the first time. Not because I’m worried. Because I’m curious. I wrote every word of it myself, the way I write everything, out loud in my head first, in a rhythm that still carries the accent of a language I learned to think in before I learned to write in this one,” begins one Substack post by an author indignant that Pangram flags her writing as AI. “That’s the part I had to sit with before I could write this.” If you, like me, have worked with AIs a lot, you won’t even need Pangram there. The author of that piece is AI. It is obviously AI! I checked 10 other posts on the blog, and they were also obviously AI! “I have spent 22 years as an award-winning author and essayist. And now this bullshit tool that learned from MY writing is going to accuse me of plagiarism,” popular Substack writer Carlyn Beccia wrote in an anti-Pangram post. “For the last and final time, AI DETECTORS DO NOT WORK.” Here’s what her writing sounded like in 2020: “Most success stories revolve around one person who believed enough in you to say — give it a try. We call these people muses, but they are so much more than that. They are the strong man giants whose shoulders we stand on so we can see the horizon. Throughout the editing process, I am sure my editor felt less like a giant of greatness and more like Atlas with the world on her shoulders.” Pangram says it was 100% human-written. (So were other articles of hers in 2020.) And here’s what it sounds like now: “And then there is the reshuffling, which sounds like paperwork until you remember that empires have always loved paperwork. The Trump regime recently moved special education oversight from the Education Department to HHS. That is not a minor bureaucratic transfer. It changes the frame.”3 Pangram says this is mostly AI. I am not convinced that Pangram is wrong. In my own experience, Pangram is very effective on long texts — if it marks a long essay as AI, the essay was either written by AI or deliberately written to sound like AI. On tweet-length or paragraph-length texts, it’s not perfectly reliable. It seems to work just as well for non-native English speakers as for native speakers. While I have seen dozens of claims of pre-2022 text returning a positive result on Pangram, I have tried repeatedly to corroborate those and have never once succeeded. To be clear, I’m absolutely not saying that complaining about Pangram suggests a writer is a cheat. There are plenty of other concerns. Most are mistakenly premised, such as the false claim that Pangram trains on work you put into it, but others are reasonable: It’s unreliable on sufficiently short text segments; it creates an internet witch-hunt mentality when there are defensible uses of AI; people who are open about their AI use are sometimes blamed, when the only people really doing something wrong are the ones who hide it; and it isn’t perfect, so a single positive result shouldn’t be taken as decisive proof of misconduct. I’m happy to concede that Pangram is imperfect and possible to over-rely on. If an author’s posts are mostly non-AI and one scans as partially AI, this could be a mistake. It’s also possible to defeat Pangram with intentional effort. If you think we need something more robust and more reliable, fine! But if you don’t like AI and don’t like Pangram, your attitude really ought to be that it’s a shame that our existing tools for AI detection are imperfect, and it’s important to invent better ones. If your stance is instead that AI is evil and so is looking for AI, then ultimately you’re contributing to the sloppification of the internet. You’re making it harder for people who write their own text to distinguish themselves, and providing cover for authors who are definitely not writing their own text. Subscribe Top stories this week, by Kobe Yank-Jacobs Commentators often worry that the decline of reading could mean the decline of liberal democracy — but deliberative governance actually predated widespread literacy. This week, Maibritt Henkel pointed out that many liberal cultures thrive on a culture of raucous, interactive debate, which can happen in-person as easily, if not more so, than in text. Read on, dear reader, to learn more. It may actually cheer you up: [ ](https://www.theargumentmag.com/p/reading-wont-save-liberalism) [ Reading won’t save liberalism ](https://www.theargumentmag.com/p/reading-wont-save-liberalism) Maibritt Henkel · Sep 1 [ Read full story ](https://www.theargumentmag.com/p/reading-wont-save-liberalism) It used to be bad to downplay climate change (if we mean denying its reality). Today, it’s actually good to downplay climate change (if we mean keeping the issue out of political fights so we can make real progress). This counterintuitive view is called “climate hushing,” and contributor Alex Trembath argued that it’s the key to enacting good policy going forward. Get up to speed on the latest in climate politics: [ ](https://www.theargumentmag.com/p/we-wont-stop-climate-change-by-talking) [ We won’t stop climate change by talking about it ](https://www.theargumentmag.com/p/we-wont-stop-climate-change-by-talking) Alex Trembath · Sep 2 [ Read full story ](https://www.theargumentmag.com/p/we-wont-stop-climate-change-by-talking) Canada’s Prime Minister Mark Carney is standing up for the forces of liberalism against Donald Trump’s assault on our closest ally. So, why is one prominent left-wing commenter attacking Carney? Columnist Matthew Yglesias explains: [ ](https://www.theargumentmag.com/p/when-economic-liberty-means-central) [ When "economic liberty" means central planning ](https://www.theargumentmag.com/p/when-economic-liberty-means-central) Matthew Yglesias · Aug 31 [ Read full story ](https://www.theargumentmag.com/p/when-economic-liberty-means-central) 🌟Abundance Wins of the Week🌟 Shout out to my home state of California, whose legislature passed two housing bills this week. One requires a housing density minimum in transit-oriented areas of the state’s most transit-rich cities (Los Angeles, Sacramento, San Francisco, Oakland, San Jose, San Diego, and Long Beach). Another bill closes two common loopholes used by third parties to delay housing projects, including an opportunity to challenge maps of a given lot created by the developer after a project has been approved. Shout out to our big-state rival, Texas, where pro-housing SB 785 took effect this week. The new state law requires municipalities to have at least one district permitted for manufactured housing without a special permit. This will promote zoning changes in 44% of municipalities. The company Fervo Energy signed a deal with Google for what is set to be the world’s largest enhanced geothermal facility, proving a technology can work at a scale that could be crucial to a decarbonized, energy-abundant economy. Share Worth watching… This week, forecasting legend Nate Silver joined Jerusalem, Matt, and Jeremiah on a crowded episode of the pod. It was a party. And speaking of parties, our round table debated the factional lines within the Democratic Party: Is it possible to be center-left and also anti-establishment? Watch or listen to find out: The Rio Grande Valley in Texas is one of the areas that swung hardest toward Trump in 2024, but musician Bobby Pulido is running to flip it back. Right now, The Argument/Split Ticket’s model has him running 1.1 points behind his Republican opponent in a district Trump won by 18 points. Tune in to find out how he differs from national Democrats and what he thinks he can to do win this seat. On Thursday, Bernie Sanders was among the first politicians to call for a ban on superintelligence. My guest this week, Andrea Miotti, has been lobbying to ban superintelligence for several years, most recently in the U.K., U.S., and Canada. I asked him how he gets legislators to take speculative risks seriously, and we dug into what plans might look like to actually pass a ban. Listen to learn more: What’s News with The Argument The Argument recommends, by Kobe Yank-Jacobs If we ever lose track of Justin Zuckerman, I’ll have the team split up and check all the movie theaters in the city. I’m shocked (and a little jealous) at how often he gets out to see good cinema. This week, he brings us It Ends, a “horror-ish movie,” which he described as a “Gen Z Waiting for Godot.” I was intrigued before he added that it was “funny, dark and existential” — at which point I was fully locked in. I guess I also had existential themes on the mind this week. One morning, a single line from a poem I read long ago just came to me: “Is death a stretch of time in which a life is just a flash?” The poem is called “From 20,000 Feet” by Heather McHugh. I suggest the version in The Vintage Book of Contemporary American Poetry, which, by tradition, my best friend and I always bring backpacking, extra weight be damned. We’ll stay thematically dark for just one more rec from senior editor John Robert Thomason, whose upcoming trip to Baltimore reminded him to suggest Michael Clune’s memoir White Out (about being addicted to heroin in Baltimore in the 1990s). Ben Lerner’s blurb called it _“_Disturbing, brilliant, hilarious—it’s as if Proust had written Jesus’ Son.” John told me this “seems accurate, with the caveat that I’ve never read Proust.” I, personally, have also shelved Proust until retirement. At this point, I was a little concerned for the team since all of us tossed out such psychologically grim material — maybe we’re all down about the end of summer — but thankfully, at least a few of us were into more upbeat selections. Milan Singh recommended Made In’s 5-quart stainless clad saucier, suggesting he had some fun in the kitchen. Jeremiah Johnson asked if he could recommend yet more Carly Rae Jepsen. Once denied, he offered up Game Changer instead_,_ calling it “the most wildly creative game show, maybe in the entire history of the genre.” Eli Richman mentioned _Lucky, “_a B-tier show with an A-tier cast and an S-tier theme song.” I suppose he was recommending the song, Horns of a Bull. Still, despite these cheerier recs, I couldn’t help but be concerned that we were subconsciously worried about racing toward summer’s end — the end of swim trunks and splashing around. Then a message landed reminding me of the three-day weekend to come. A whole extra day for sunshine. One more swim in the lake. I was grateful this called to mind yet another line from a poem, one by Mary Oliver, the patron saint of every gorgeous summer day (and about whom a documentary is now out). Speaking to God in the poem “Thirst,” she wrote: grant me, in your mercy,a little more time. Love for the earthand love for you are having such a longconversation in my heart. We have merch! We have quarter-zips, keychains, hats, and stickers. Each one is a great conversation starter in its own way. Buy them here. Subscribe More to read: [ The Opening Argument ](https://www.theargumentmag.com/p/seeing-like-an-elite)[ Seeing like an elite ](https://www.theargumentmag.com/p/seeing-like-an-elite) Kobe Yank-Jacobs · Sep 4 What do Americans hear when they watch Sen. Bernie Sanders or Vice President JD Vance rail against the elite? Are they thinking of right-wing tech billionaires? Imperious college professors? Liberal magazine writers? [ Read full story ](https://www.theargumentmag.com/p/seeing-like-an-elite) [ The Weekly Scroll ](https://www.theargumentmag.com/p/god-is-back-on-the-timeline)[ God is back on the timeline ](https://www.theargumentmag.com/p/god-is-back-on-the-timeline) Jeremiah Johnson · Sep 5 This week, we’re talking about Substack’s new religious debates, the continuing MAGA influencer scandal, how to retire from YouTube, and aura battles. [ Read full story ](https://www.theargumentmag.com/p/god-is-back-on-the-timeline) 1 This was a legitimate thing to worry about, but doesn’t seem to be a problem given the actual technology: Marijke Van Vlasselaer, Filip Van Droogenbroeck, and Bram Spruyt’s 2026 paper looks at whether Pangram is less accurate when evaluating the work of non-native speakers of English. It isn’t. That’s because Pangram isn’t really looking at how “unusual” a piece of writing is but whether it has the characteristic patterns of LLMs. The Wired article makes an odd gesture at a different Pangram-is-racist argument. There were several controversies this summer during which upcoming books were canceled after being discovered to be AI-written: “The three novels mentioned earlier — Shy Girl, Daggermouth, and Call Me, easily publishing’s biggest AI-detection scandals — were all written by writers of color.” But come on! As Zvi Mowshowitz put it: “They were not primarily written by people of color. They were primarily written by AIs.” That’s the whole problem! And as my colleague Jeremiah Johnson recently observed with respect to Cambridge’s Arday scandal, a community being unwilling to call out fraud if it’s perpetuated by people of color is not an anti-racist tendency; it is ultimately quite racist. 2 Many non-Pangram detectors don’t work, but many possible airplane designs also don’t work, and no one considers this a general argument against aviation; the thing that matters is whether any detection works. 3 The phrase “empires have always loved” mysteriously became all the rage in the last few years. See here, here, here, here and here. Before 2025, the only use of that phrase I have been able to find is a single Tweet. The logic of the sentence, too, is incoherent in an AI-characteristic way. “...sounds like paperwork, until you remember that empires have always loved paperwork”? Does remembering that make it sound less like paperwork? It’s a craft-ful sentence, but what is it actually saying??
Analysis: Gunners pass first major test
This was Arsenal's first major test against rivals who had also won their opening two matches, and they passed it after exposing Chelsea's defensive vulnerabilities. Along with Manchester City, the Gunners are one of only two teams to have a 100% winning record after three games - but their latest success came after an unexpected setback. Arsenal's first league title for 22 years was built on their stubborn defence and there will be questions about how they conceded so early against their London rivals.
The Pressure on Orlando Magic Coach Sean Sweeney
Orlando Magic coach Sean Sweeney is tasked with a big job, but he has the tools to be successful.
Column: Mental health leader passing the torch after successful 16-year run at Family Counseling in Aurora
At the end of this month, Eric Ward is turning the leadership of Family Counseling Service over to Jason Andrade, a colleague he’s spent the past six years preparing to succeed him.
James Madison outduels Liberty in Napier’s debut, 20-13
JMU rotates between QBs, still outduels Liberty’s run game, in Billy Napier’s successful debut.
Matchday Musings: Le Fée’s Emphatic Penalty Delivers A Draw At Brentford
The Frenchman’s spot kick success earned Sunderland a point at the GTech on Saturday — a solid away result.
Astros Blow Late Lead, Fall to Diamondbacks 4-3/10
Saturday Night Bummer. A rare blown late inning lead by Houston. Diamondbacks 4 Astros 3. The night began with promise, thanks to a forged early lead which has been the formula for success of late. Taylor Trammell began things with a double, advancing to third on Yanier Diaz’s single. Yordan Alvarez […]
Prince Hisahito turns 20 as Japan’s government reinforces male-only succession rules
Japan’s Prince Hisahito has turned 20 while facing growing attention as a future monarch.
Prince Hisahito turns 20 as Japan's government reinforces male-only succession rules
Japan’s Prince Hisahito has turned 20 while facing growing attention as a future monarch. The prince's birthday Sunday came as Japan's government implements an unpopular revision to the Imperial...
As doctor and Vietnamese refugee, Sonoma County’s mental health medical director espouses science of optimism
Michael Quach’s story has been shaped by the hopeful outlook that traces back to his family’s flight from war-torn Vietnam, and his determined, successful climb through a rigorous medical education and career.
As doctor and Vietnamese refugee, Sonoma County’s mental health medical director espouses science of optimism
Michael Quach’s story has been shaped by the hopeful outlook that traces back to his family’s flight from war-torn Vietnam, and his determined, successful climb through a rigorous medical education and career.
The next James Bond: the (00)7 questions fans want answered
Speculation has been building recently that an announcement about Daniel Craig's successor could be close.
Modric available for Croatia in Nations League
Croatia's veteran midfield maestro and captain Luka Modric will stay with the squad in the forthcoming Nations League matches, the national football federation said on Saturday.The key architect of Croatia's historic success in recent years, who turns 41 on Wednesday, will figure in the squad that coach Slaven Bilic will announce on Monday for the Nations League matches, a Croatian football federation (HNS) statement said.
Nottingham Forest 0-0 Tottenham: What De Zerbi said
Tottenham Hotspur failed to have a shot on target in a Premier League match for the first time since April 2022 against Brentford under Antonio Conte. Tottenham Hotspur have failed to score in three successive Premier League games for the first time since November 2021, while it is the first time a Roberto De Zerbi side has failed to do so in Europe's big five leagues since Brighton and Hove Albion in January 2024.
Rory McIlroy Champions Manchester Amid Premier League Kickoff
Rory McIlroy and Justin Rose reveal their Premier League loyalties as the 2026-27 season begins, blending golf success with football passion.
Herbalife Appoints Company Veteran as its Interim CEO
Following Stephan Gratziani’s departure, 20-year company veteran John DeSimone will serve as Herbalife’s Interim CEO as it looks for Stephan’s successor
Newport Beach college student has business in the bag with company
Newport Beach resident Brooks Orradre, a senior at Southern Methodist University, has found success with his Velantra handbags brand.
Alcaraz knows health a big part of his success
NEW YORK — Feeling better than he expected after a four-month absence, Carlos Alcaraz is planning to take more breaks during the tennis season. Alcaraz returned to play at the U.S. Open after being sidelined since April by a right wrist injury. The defending champion advanced to the fourth round Friday with a 6-3, 6-4, […]
Science Hill Transition School to Work provides pathway for students with special needs
JOHNSON CITY, Tenn. (WJHL) — Science Hill High School’s Transition School to Work (TSW) program is already showing strong signs of success. The program is designed to provide students with sp…
15 discouraging hours with Onimusha: Way of the Sword, and 10 brilliant ones with He Who Watches
In the last few weeks, while playing some video games that I might review, I emailed two cries for help. I sent the first to a rep for Capcom, confessing that the company’s samurai game Onimusha Way of the Sword (out today for PC and console) was crushing me. “Feels like I’m playing ‘hard’ mode, not ‘normal,’” I wrote. “And I don’t want to have to knock it down to “story”. I’m exploring, trying to level my gear, but these two-phase boss fights with no mid-fight checkpoints are brutal.” I wagered I was only about halfway through the game, if that. I wasn’t sure I could keep up with the steepening difficulty curve. Was I missing something? Then, on Monday, I took some photos of some puzzles that were baffling me in the mind-bending He Who Watches (out now on PC), wrote out lengthy descriptions of how I’d been trying to solve them and asked Bobby Vanden, the game’s solo developer, for a nudge in the right direction. I told Vanden I’d spent hours on these puzzles. “I’m stuck in triplicate,” I told him. Could he tell me if the solutions I was attempting were even on the right track? I didn’t mention that the puzzles—coupled with major time pressures from other work—were stressing me out so much that playing the game was giving me headaches. This double dose of panic was unusual. I’m used to managing a workload full of reporting and reviewing, used to a crowded schedule and the need to stay calm amid the bustle. But I was stressed about these games. No one was forcing me to review them, nor even play them. I’d simply found them interesting enough to start, hoped they’d be interesting enough to write about and I’d sunk hours into them assuming I’d made the right call. Suddenly, however, I felt trapped. I was emailing for a way out. Above: This guy took me about an hour to beat. The feedback I got from Capcom confirmed my fears. They didn’t say it, but I will: Onimusha Way of the Sword is not for me. It’s a brutally hard game in need of a normal difficulty level. It’s a game that spikes so severely during its abundant boss fights—yet offers such flawed ways to improve when outside of them—that it feels like a bait-and-switch. In the new Onimusha, you play as famed samurai Musashi Miyamoto, aided by a magical soul-absorbing gauntlet that is possessed by a lady who offers advice. (Way of the Sword is a continuation of Capcom’s long-dormant Onimusha series, but that set-up had me wondering if the company was cribbing from their ill-fated Bionic Commando reboot; read about “wife-arm” when you get a chance). Way of the Sword is partially set in 17th century Kyoto, an explorable city where Miyamoto can fight demons, help civilians and eventually rescue ghostly dogs. The city evolves over time, with new mini adventures and obtainable loot on offer, all feeding into systems that promise to upgrade your gear and sword-fighting skills. Upgrades, however, are so incremental as to be imperceptible, causing the exploration of Kyoto to feel like inconsequential busywork. From that hub, players can go on linear missions into forests and old temples, where they will encounter many of the game’s tough bosses. Combat in Way of the Sword is akin to many modern melee games. Players are asked to mix attacks with dodges and parries. They’re encouraged to deplete an enemy’s stamina bar in order to do greater damage to its health bar. The old Onimusha games’ signature move was the issen, a counter-attack so sudden it’s all but pre-emptive. You strike just as they begin to strike toward you, beating them to the cut. By definition, the issen is a high risk move, leaving you wide open to pain. It feels risky in the game, especially against bosses, who can maul you in just a few blows. A game might train you to perform an issen well by offering a variety of lesser enemies who are not as tough as the boss but get close. Or it might offer a toehold against bosses by saving or checkpointing the player’s progress when a boss’ first health bar has been destroyed and before the second health bar appears. It might offer the less skilled player a chance to over-level their character, should the player simply commit to playing through its optional sidequests. Way of the Sword does none of this. Fighting its trivially easy grunt enemies and then its ferociously adept bosses is like playing a game of chess where I’ve got a rook, while the opposing side is all pawns and five queens. Bosses simply don’t checkpoint. You may be able to clear a boss’ first phase without taking much damage. Good for you. Do it again, every time you fail the second phase. As for the the central Kyoto hub, I kept pace with all of its added side activities and never felt like I was overpowered. Bosses could still easily buckle me. The new Onimusha, I concluded, is just too discouraging to keep playing. The advice I got from Capcom had been well-intentioned. They reminded me of the game’s various systems. They alerted me to an optional assist that flashes recommended button inputs (basically: counter this move; dodge that move). It was a little helpful. So was dropping down to “story mode,” which I tried last night. Story mode turns on those button prompts by default. It makes countering and dodging way too easy, nearly automatic. I don’t consider myself a master of action games like these, but I’ve cleared the likes of God of War, Stellar Blade, Star Wars Jedi and others of sub-Sekiro difficulty and had a fun time doing so. Not here. Not yet. Unless they patch Onimusha: Way of the Sword and add a middle difficulty or just checkpoint the damn bosses when they’re between health bars, my streak of loving Capcom games released in 2026 will likely end at two. It’s a shame, because I was having a good time finding those ghostly dogs. And then there’s He Who Watches, a phenomenal first person puzzle game with Portal vibes, except instead of a portal gun you’ve got a magical bow that shoots one arrow that can activate switches or be used to drag blocks. The twist is an actual twist: you can also walk on walls and the ceiling, reorienting gravity as you do, thereby placing blocks onto those other surfaces. Walking on walls and ceilings to solve problems is really the best thing. Would that I could in reality. He Who Watches consists of locked-room challenges, each brief enough to only require about a minute to actually solving, though it will take five, 10, eventually 30 minutes to figure out said solutions. They are not obvious! It’s a game of layered mechanics and shocking solutions. For example, see if you can follow this: You can drag a block to a wall. Then you can walk on the wall, which now feels like the floor, and drag that block across the wall. Later, back on the floor, you might realize you can look up. The block is still on the wall, stuck to it. You can shoot your magic arrow to its underside. Doing so creates a tether, so that you can yank the block off the wall and carry it, as if it were a balloon, into the spot where you need it to be to solve the puzzle. Here, watch Vanden explain some of the game’s basics in this launch trailer: As with any great puzzle game, the solutions to He Who Watches’ puzzles elicit relief and amazement. Oh my god, that worked! I didn’t even think that could be possible! Learning to solve the game’s puzzles feels like learning magic. But, oh, does the game get hard. Its Steam reviews, mostly glowing, are full of players remarking how quickly He Who Watches made them sweat. Wrote one: “loving this one already although my brain is hurting!” Wrote another: “As you get further in the game it feels like you need an IQ level of at least 120+.” Vanden has shown some mercy. Each locked room puzzle includes an optional junior version of the puzzle, meant to teach you. Difficulty nevertheless ramps severely. By the time I was emailing Vanden for help, I was struggling to even clear one of the hint puzzles. When I messaged him, my stress was exacerbated by strange things I’d found in the game’s various hubs: suspicious passageways, odd blocks and some intriguing locked doors. These were hints of secrets, I realized, yet I sensed I needed to play further into the game to understand them. I was stuck, but I wanted to see the rest. Vanden offered to give me the exact solutions, to solve those three puzzles for me, but first he gave four nudges. Three were for the specific puzzles, but his best hint was for all and ultimately proved to be a terrific life lesson: go back a bit, he suggested. Do the puzzles right before those. They were teaching you something. Focus on what their lesson was. Don’t rush, in other words. Recognize what you’ve accomplished. Build off of that. I did so. I absorbed the lessons. I saw those three tough puzzles in a new light. I solved one the night after he wrote back, another the morning after. I left a third for another time. I didn’t need it and I wanted to plunge deeper into the game, closer to the moment when I was sure I could start unlocking those secret doors. My head stopped hurting, too. He Who Watches feels special. It’s got more challenges, and I’m undeterred. It’s also nice that its puzzles don’t have a surprise second health bar. Game File is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber. Subscribe Item 2: In brief… 🎮 Ilari Kuittinen, co-founder of Helsinki-based Housemarque (Super Stardust HD, Resogun, Returnal) has stepped down from his studio, after a 31-year run, saying he’s “ taking a rare and well-deserved breather.” Sony purchased Housemarque in 2021, and the studio released its newest game, Saros, earlier this year. Trend-watch: Sony-owned Insomniac saw its founder Ted Price retire in early 2025, after a 30-year run. Sony-owned Sucker Punch saw its co-founder Brian Fleming step down in late 2025, after a 28-year run. 👀 Savvy Games Group chief Brian Ward is stepping down from the Saudi-government-backed games conglomerate, Bloomberg reports. No word on a long-term successor yet, nor if this augurs any closer integration between Savvy and Electronic Arts. EA was purchased by a consortium led by Saudi’s sovereign wealth fund, in early August. 💿 Square Enix has denied a Japanese media report that the company was planning to go private. In very different Square Enix news, the company revealed that the physical version of Final Fantasy VII: Revelation, the April 2027 finale of its radical remakes of FFVII, will include just one disc in its case, requiring a download for the rest. The first two FFVII remakes in the trilogy shipped on two discs apiece. While Square hasn’t commented on the reason why, a feature here in Game File last month broke down the processes and costs for physical games. The expense of a second disc comes out of the game publisher’s cut of each copy. Square could be saving in excess of a dollar a copy with this move. 🟥 Grand Theft Auto IV’s 26-minute ’‘extended look” gameplay showcase that premiered on Netflix last week—and was exclusive to the platform for six hours—drew 31.1 million views in its first four days, the streamer announced. (Netflix calculates views as total viewed hours divided by runtime; excludes replays). Compared to YouTube: The version that later premiered on Rockstar Games’ YouTube channel is sitting at 22.6 million views after seven days (YouTube’s more liberal counting system tallies anyone who viewed even just the first few second.) Compared to other Netflix mega-events: Last year, Stranger Things season 5’s first four episodes, which debuted together, drew a record 59.6 million views in their first few days on Netflix. For more of a live event type of comparison, in 2024, the Jake Paul vs. Mike Tyson boxing match drew 65 million concurrent streams as it happened; Netflix didn’t release live numbers for the GTA premiere. ☁️ Microsoft is changing the way it charges for cloud gaming, from an all-you-can-play offer for Xbox Game Pass subscribers, to caps for the subscription’s tiers (15 hours per month at the Ultimate tier), with the option to buy more hours in bulk beyond that. The company also said it will sell batches of cloud gaming time to non-Game Pass subscribers, details TBA. Microsoft does not release figures for cloud game usage, but said its changes would impact 4% of Game Pass subscribers. That implies a small portion of its subscribers exceed the 15-hour monthly mark. Cloud gaming offers the promise of playing games without the need for console or PC hardware, as the graphics, sound and controls are all transmitted via a streaming connection. Microsoft notes that its cloud gaming service can be used for a range of things, including Xbox One players using it to play newer-gen Xbox Series games via streaming; and people playing games via streaming, sans any console, “in markets where consoles are less available or affordable.” (That latter use case could even be relevant in Xbox’s home market soon, as console prices keep rising.) Take Two Interactive chairman Strauss Zelnick recently told investors he expects game-streaming tech, which has been only lightly adopted by gamers for over a decade, to be widely used within three years. 🇺🇸 The Trump administration has published multiple agenda-driven web video games to the White House’s website. One called Build The Wall partially clones Tetris as it asks players to build a wall to stop a “zombie border siege.” While actual Tetris involves clearing lines and basically not building a wall, the Trump-backed game omits the line-clearing aspect (and omits the fun as well). On Instagram, Tetris’ official license holders reacted by stating: “At Tetris we believe in the power of connection and bringing people together, not dividing them. To our fans everywhere: we love you, we see you, and we’re grateful to have you in our community. P.S. The Tetris Company was not involved in the creation of ‘Build the Wall.’ P.P.S.: We take copyright infringement very seriously.” Item 3: The week ahead: Tuesday, September 8 Game releases: Mewgenics (consoles; already out on PC) is an engrossing tactical combat game (with cats). It is getting its console port right after the release of a Star Wars tactics game and ahead of the late September launch of a Fire Emblem–a bumper crop for the genre. Wanderburg (PC) is an auto-shooting game like Vampire Survivors, but you’re a castle on wheels Event: Nintendo airs a 30-minute Nintendo Direct (10am ET) focused on The Legend of Zelda’s 40th Anniversary. A full unveiling of the upcoming remake of The Legend of Zelda Ocarina of Time is expected. Will they also show footage from next year’s live action movie? Tease the next big 3D Zelda? Add Link to Mario Kart World? Shadow-drop a new Tingle game? Wednesday, September 9 Event: Nintendo again! On this day, they’re planning to air a 45-minute Nintendo Direct (10am ET) focused on games heading to Switch 2 this winter. Followed by about an hour of gameplay demoed by the company’s Treehouse team. The September Nintendo Directs are always some of the year’s biggest. The 2025 edition included announcements of several major 2026 Switch/Switch 2 games: Pokémon Pokopia, Mario Tennis Fever, Yoshi and the Mysterious Book, Fire Emblem Fortune’s Weave. Plus the return of the Virtual Boy. Friday, September 11 Game release: EA Sports NHL 27 (PlayStation, Xbox) is a hockey game. There are so few that an indie studio that had been making wacky sci-fi first-person shooters just announced that, hey, we’re going to fill a void and make a hockey game for PC.
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The Fierce Battle For Kids’ Eyeballs...Plus Two “Devils” Face Off
(Welcome to my weekly streaming ratings report, the single best guide to what’s popular in streaming TV and what isn’t. I’m the Entertainment Strategy Guy, a former streaming executive who now analyzes business strategy in the entertainment industry. If you were forwarded this email, please subscribe to get these insights each week.) During the week of this report, Spider-Man: Brand New Day hit theaters and went on to become one of the biggest films of all time. So, you know what that means! It’s time for a poll! Recently, Project Hail Mary came to Prime Video and became a top five film for them, but didn’t smash streaming records, a feat I cautiously thought it could accomplish. Can Spider-Man 4 do better? To set the stakes, some of the biggest films of all time do just okay on streaming. Wicked, Top Gun: Maverick, and Barbie come to mind... But unlike those films, Spider-Man: Brand New Day is a Sony film which means it’s headed to Netflix, the world’s largest streamer. Now, per friend of the newsletter and my go-to Netflix expert, Kasey Moore of What’s on Netflix, Sony films usually appear on Netflix 120 days after they premiere, which means Spidey 4 would land on Netflix on, checks notes, 28-November, one of the two biggest streaming weekends of the year! But Sony occasionally delays its biggest hits for a bit longer, to give them more time to make money on PVOD, so Spider-Man: Brand New Day might not swing onto Netflix until late December or even February 2027. Loading... Okay, on to this week’s issue. Since The Super Mario Galaxy Movie made its way to Peacock, I’m looking at the true workhorse of streaming viewership: kids films. And the surprising film that bested most Netflix animated movies. All that, plus Hulu has a new show that might be a hit (for them…?), two “Devils” square off on streaming, Zendaya tries to find some streaming magic, Netflix’s I Will Find You continues to do well, House of the Dragon tries to break into the season three top ten, some big NBC sports and summer programs, what friendly neighborhood Spider-Man character actually generates the most viewership on streaming, all the flops, bombs and misses, and a whole lot more. Let’s dive right in! (Reminder: The streaming ratings report focuses on the U.S. market and compiles data from Nielsen’s weekly top ten viewership ranks, Luminate’s Top Ten Data, JustWatch and Reelgood interest data, Samba TV household viewership, company datecdotes, Netflix hours viewed data, Google Trends, and IMDb to determine the most popular content. While most data points are current, Nielsen’s data covers the weeks of July 27th to August 2nd, 2026. You can find a link to my terminology here.) Subscribe Film - As The Super Mario Galaxy Movie Hits Peacock, How Have Kids Films Fared in 2026? Like Mario hopping on a Koopa, The Super Mario Galaxy Movie landed on Peacock on 30-July. (Yeah, I kinda forced that Mario reference.) How did it do? Great, just like the first film. It got 13.0 million hours on its opening, and that’s good enough to take second place among Peacock films on the Nielsen charts all time: As I mention all the time, Peacock just isn’t the world’s biggest streamer—in fact, nowhere close—so its films struggle to put up numbers like Netflix (or even Prime Video and Disney+). So this is a solid debut for that streamer. And as we saw last time, The Super Mario Bros. Movie had a HUGE second life on Netflix when it moved streamers. This chart doesn’t even show how long the first Mario lasted on Netflix: a whopping, KPop-esque 31 weeks. For NBCUniversal, though, the big win was the second Mario movie grossing $429 million in America and over $1 billion globally. But yeah, to add a very strong streaming performance only makes its success even greater. Illumination pretty clearly has another hit franchise on their hands. This is a good time, though, to check in on kids films so far in 2026. We’ve had a few big, big titles, a rare Netflix success, and some disappointments. Let’s start with the top animated films since November of 2025, over their first four weeks on the charts, along with a few of the “best all time” animated films: (As a reminder, if a film doesn’t make the Nielsen top ten lists, I don’t have data for it, so it gets a “zero” in terms of viewership. Now, it had some viewership, but I don’t know what it is, so it gets a zero.) I added a few titles to get an idea of what the best of the best looks like in terms of animation. And you can see, through four weeks, Zootopia 2 can now claim “one of the biggest streaming films of all time” titles. GOAT too did surprisingly well, besting Netflix’s biggest films (Swapped and In Your Dreams) through four weeks. When I’ve talked about how films can have varying performances on streaming compared to their box office, this is what I mean. Goat just managed to gross even $103 million at the box office—so it’s popular, but just barely—but did very well on streaming. Of course, what set Encanto and KPop Demon Hunters apart from the rest was their absolutely insane longevity. Here are the kids film charts through eight weeks to show that: And really KPop Demon Hunters just kept going, and no 2025 or 2026 kids films have had that sort of longevity. I can’t wait to see the sequel in theaters. Film - Two Devils and a Drama As I wrote last week, in the past, theatrical-first film flops weren’t eligible for “Miss of the Week” or “Miss of the Year” honors/dishonors, but since so many more films go to theaters first these days, I’ve made them eligible now! But it’s complicated. You see, this is a Streaming Ratings Report, emphasis on streaming, which makes analyzing this week’s two biggest streaming misses—The Drama on HBO Max (A24’s dramedy starring Zendaya and Robert Pattinson) and Prime Video’s The Devil Mouth (a killer shark movie starring young attractive people)—somewhat tricky. The Drama isn’t eligible for Luminate, but The Devil’s Mouth only had 1.5 million hours in its first week: The Devil’s Mouth notched 5.2 million hours according to Nielsen. Meanwhile, The Drama missed the charts entirely. Not great! But Prime Video is a much bigger streamer than HBO Max. That said, HBO Max titles are on Prime Video, but I think Prime Video prioritizes their original/exclusive titles, which helps boost their viewership. Complicating this further, The Drama made $48 million in the US—while A24 sells foreign distribution; the $57 million of overseas grosses helps A24 sell overseas rights for money in the future—off of a $28 million budget (which seems low for Zendaya and Pattinson, so they might have backend). The Devil’s Mouth, though, had zero dollars at the box office. The other stats for The Devil’s Mouth are bleak, and by “bleak”, I mean horrendous: a 4.7 on 15K reviews on IMDb (yikes) and a 46 on Metacritic (double yikes). The Drama, though buzzy online, only has a solid (but far from elite) 7.1 IMDb score on 121K reviews and a 59 on Metacritic (which is far, far lower than I’d have guessed). So which film is the “Miss of the Week”? I’m giving it to The Devil’s Mouth for one simple reason: it’s a horror film. And almost all horror films, even poorly reviewed horror films, should get a shot in theaters to at least try to recoup some of their budgets. The Drama made money at the box office and The Devil’s Mouth didn’t. It’s just like the situation last issue with Obsession and Masters of the Universe. Sure, Obsession didn’t pop on the streaming charts, but at least it already made it money at the box office. And as we’ve been seeing for years now and we’ll see all fall, theatrical films just do better on streaming. After all, the big “devil” winner this week was actually The Devil Wears Prada 2 with 14.8 million hours according to Nielsen. That’s right, The Devil Wears Prada 2—one of the box office success stories of May—came to streaming and parlayed its $220 million box office into 14.8 million Nielsen hours. Disney also put out a datecdote that it had 15.2 million “views” globally in five days, but again we don’t have a lot of great context for what that means. Here’s how it stacks up to other Hulu films, since I’m categorizing this mainly as a Hulu title (though it was also on Disney+): Share Quick Notes on Film We’re just getting started with this issue, but the rest is for paid subscribers of the Entertainment Strategy Guy, so if you’d like to find out… Whether Hulu has a new hit show on its hands... The top first and third seasons of all time and which shows are climbing those charts… What version of Spidey is the most popular... What sport and TV show are performing better on NBC than the NBA... All the flops, bombs and misses... ...please subscribe! We can only keep doing this great work with your support. Coming Soon! Next week, wow, things stay so busy. One of streaming’s biggest shows of all time, Ted Lasso, returns along with new YA-ish shows from Hulu (The Shards, from Ryan Murphy) and Prime Video (Sterling Point). The Challenge moves to Paramount+, plus My Life with the Walter Boys returns to Netflix and Futurama returns to Hulu. And Netflix has a new horror film, The Last House. Lots to talk about! All month, things stay busy. We’re talking Reacher on Prime Video! Outer Banks and Tires on Netflix! Lanterns on HBO Max! UFC 330 on Paramount+ and the MLB Field of Dreams game on Netflix. And a ton of smaller films come to streaming. Long term, the VMAs are back on 27-Sep! I feel like I haven’t heard much about this show in past years, but I’m seeing more news coverage and buzz for this show than in past years. I’m curious to see how it does.
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Photo provided by EscapologyAfter 15 years as an Army officer at Fort Bragg, Fayetteville resident Dan Cooke transitioned to business ownership to bring high-end experiential entertainment to North Carolina, applying strict military operational systems to scale his footprint across the state.Cooke got his start in the Army’s Boots to Business program.“Boots to Business was instrumental in preparing me to start a company. The program taught me how to develop a business plan, conduct market and financial analysis and critically evaluate whether a business concept was actually viable,” shared Cooke. “What made the program particularly valuable was that the instructors and mentors had real-world business experience…At the end of the course, I had to present and defend that plan. From there, they directed me to SCORE, where mentors helped me further refine the plan. I eventually presented it to a bank, which was impressed with the level of preparation, and I secured the financing necessary to build the business.”As Cooke neared the end of his military career, he began to wonder what would come next. Through his faith and some valuable mentors, he found the right avenue for his entrepreneurial interests.“While working on my instrument pilot rating, my flight instructor happened to tell me about escape rooms and the economics behind building them. He thought they could make for an interesting business. I took the analytical skills I had developed in the military, along with what I learned through Boots to Business, and began comparing the escape-room model against other opportunities I was considering,” explained Cooke. Cooke opened his first Escapology location in Fayetteville in 2019.“My approach was to start small and prove the model. Fayetteville made sense because I was already there, understood the market and could minimize my initial risk. It also became clear very quickly that I needed a partner that could provide the creative design, branding and industry knowledge that I did not have. After researching a number of options, Escapology became that partner,” added Cooke.Following the success of his initial venue in Fayetteville and a venue in Charlotte that opened in 2023, Cooke recently expanded into Raleigh with his third Escapology venue at Crabtree Valley Mall.His North Carolina footprint now includes:Fayetteville: A 5-room venue launched right after his Army transition in 2019.Charlotte: A 10-room venue opened in 2023, doubling his original operational footprint.Raleigh (Crabtree Valley Mall): A 6-room venue opened in May 2026, with plans to expand to 10 full rooms.Beyond his venues, Cooke expanded his local footprint by launching Jade Solutions in Aberdeen, N.C., an OEM manufacturing business that now builds prop and technical solutions for Escapology venues systemwide.Cooke shared that his long-term goal is to continue expanding Escapology in a healthy and sustainable way while enjoying the journey. “I actually did not start an entertainment business because I personally loved escape rooms. I started a business because I love the game of business itself. Growing up, I loved military simulation games and business tycoon games. I eventually had the opportunity to experience the first of those in the real world — I went to war, led troops and played my part in the military. Today, I would much rather apply that same drive to the real-world game of building businesses.I don't play business computer games anymore. I get to wake up and do it for real every day,” shared Cooke.
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You can’t exactly take the ATLAS experiment on tour. At 7,000 tonnes and buried 100 metres underground at CERN, it’s not easy to move. So, for more than a decade, the ATLAS Collaboration has found another way to bring the experiment to people around the world: live, interactive virtual visits with the scientists who work on it. In a recent paper published in the European Physical Journal Plus, the ATLAS Collaboration documents the evolution and impact of its flagship Virtual Visits programme. The paper is the Collaboration’s first publication focused specifically on science education, communication and outreach. It traces the programme from its beginnings as an experimental outreach effort in 2010 through its growth into a global programme – connecting classrooms in the Amazon, schools in the Himalayas and even a research station in Antarctica. Drawing on data collected between 2019 and 2025, the paper examines the programme’s reach and impact. Global reach, local connection Figure 1: World map showing the number of virtual visits across participating countries from 2019 to 2025. Cooler colours (purple and blue) are used for countries with fewer visits, and warmer colours (red and orange) for countries with more visits. (Image: ATLAS Collaboration/CERN) The core mission of the ATLAS Virtual Visit programme is to connect audiences worldwide with particle physicists and engage them in accessible discussions about cutting-edge research. While visiting CERN in person is an unforgettable experience, financial and logistical barriers can make such a trip difficult for many students and public groups. Video conferencing has allowed the Collaboration to break down these barriers: between 2019 and 2025, the Collaboration hosted 698 virtual visits, engaging tens of thousands of participants across nearly 70 countries (see Figure 1). Interactivity is central to the programme. Far from simple one-way broadcasts, Virtual Visit audience members are encouraged to engage in conversation with the scientist(s) hosting the visit. Most hosts are volunteers from the ATLAS Collaboration, who bring their diverse scientific expertise, language skills and cultural backgrounds to each visit. Where possible, audiences are paired with volunteer scientists who share their native language and cultural background, making it easier to engage, ask questions and connect with the hosts. Between 2019 and 2025, Virtual Visits were held in 19 different languages. The core mission of the ATLAS Virtual Visit programme is to connect audiences worldwide with particle physicists and engage them in accessible discussions about cutting-edge research. Constant evolution Figure 2: The number of ATLAS Virtual Visits organised annually since 2019. (Image: ATLAS Collaboration/CERN) The ATLAS Virtual Visit programme has continuously evolved to enhance the visitor experience. Early sessions were hosted directly from the ATLAS Control Room before transitioning in 2014 to a dedicated space in the ATLAS Visitor Centre, equipped with modern videoconferencing technology. In 2019, the ATLAS Collaboration expanded the programme’s reach, introducing live Virtual Visits from the experimental cavern during year-end maintenance stops and long LHC shutdowns. These exclusive sessions take participants beyond the ATLAS visitor platform, offering real-time, up-close views of the towering detector. When the COVID-19 pandemic disrupted in-person gatherings worldwide, demand for virtual engagement surged. The ATLAS Collaboration adapted rapidly by introducing Open Virtual Visits streamed via Zoom and YouTube, allowing individual science enthusiasts and families to join live guided tours. Figure 2 shows that the programme reached a peak of 155 visits in 2021 and has since maintained around 100 visits per year, demonstrating sustained engagement beyond the pandemic-driven increase. More than just a tour Beyond participation numbers, the paper highlights the positive impact on participants and educators. Teachers report successfully integrating Virtual Visits into their physics curricula, sparking sustained curiosity and in many cases inspiring students to pursue STEM studies and careers. Feedback received also highlighted how the direct dialogue with ATLAS scientists has given students an authentic and personal perspective on particle physics, helping them connect what they learn in the classroom with the people behind ATLAS research. Looking ahead, the programme will continue to evolve with new technologies and communication platforms. The goal is simple: to give even more audiences the opportunity to engage directly with particle physics and make fundamental science open to all. Learn more Breaking barriers: the impact of ATLAS Virtual Visits in science communication (Eur. Phys. J. Plus 141, 874 (2026), arXiv:2601.22457, see figures) ATLAS Virtual Visit Dashboard Register for an ATLAS Virtual Visit
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What Box Office Bomb Crushed Obsession on Streaming?
(Welcome to my weekly streaming ratings report, the single best guide to what’s popular in streaming TV and what isn’t. I’m the Entertainment Strategy Guy, a former streaming executive who now analyzes business strategy in the entertainment industry. If you were forwarded this email, please subscribe to get these insights each week.) Before we get into this week’s issue, let me ask you for some suggestions. At the risk of coining too many names for too many things (hence my dictionary of terms...), I need a name for straight-to-streaming films that are too expensive to justify a straight-to-streaming release, but not big enough to justify a theatrical release. Like some of the films I highlighted in last week’s tally of the biggest film flops of 2026 so far: Hulu’s Mike & Nick & Nick & Alice, Pizza Movie or Never Change! They don’t feel like “made for TV movies” (think Hallmark and Lifetime movies, cheap Netflix romcoms, or Disney Channel Original movies, for example) but they don’t feel big enough for the big screen. They’re not “cinematic” enough, so to speak. As I wrote... “I still need a name for this middle zone of film that’s too expensive to go straight-to-streaming but too small to justify a theatrical release (with all the PR, distribution, marketing and whatnot costs that go along with it), the Goldilocks zone of streaming film death.” Friend of the newsletter Brandon Katz has suggested the “Bermuda Budget Triangle”, “The Platform Gap” and “The Distribution Deadzone”. I love that first one. I’d offer up the much wordier “The Streaming Budget Dead Zone” or “the Goldilocks Zone of streaming film death” but that last one isn’t accurate since, unlike Goldilocks’ porridge, these films are the opposite of “just right”. That’s the problem! Anyway, if you have any suggestions, let me know! On to today’s Streaming Ratings Report. As you can tell by today’s headline, things are going to be spicy! I’m looking at a box office bomb that did really, really well on streaming, somewhat challenging a few different narratives. And another Netflix series declined in its second season. All that, plus Wicked: For Good switching streamers, The Hawk continuing its strong run, _The Bear’_s finale season finally dropping off the charts, the WNBA posting a big viewership number, “shallow libraries”, a sitcom spinoff failing to launch, more big budget IP flopping on Paramount+, all the flops, bombs and misses, and a whole lot more. Let’s dive right in! (Reminder: The streaming ratings report focuses on the U.S. market and compiles data from Nielsen’s weekly top ten viewership ranks, Luminate’s Top Ten Data, JustWatch and Reelgood interest data, Samba TV household viewership, company datecdotes, Netflix hours viewed data, Google Trends, and IMDb to determine the most popular content. While most data points are current, Nielsen’s data covers the weeks of July 20th to July 26th, 2026. You can find a link to my terminology here.) Subscribe Film - The Latest Theatrical Success Story on Streaming In the latest edition of “Flops, Bombs and Misses of the First Half of 2026”, I made a crucial change: I started including theatrical films with the streaming misses. The streamers have collectively—including Netflix, but not to as big of an extent—stopped making a lot of straight-to-streaming films, and the ones they do make aren’t as expensive as in the heyday of the streaming bubble. After the following two films bombed in theaters, you’d guess that they’ll be included in my next collection of flops, bombs and misses six months from now: Masters of the Universe on Prime Video (only $64 million domestic box office) Mortal Kombat II on HBO Max ($79 million domestic) But you’d be wrong! Masters of the Universe, a reboot of the He-Man franchise, a toy from the 1980s, came to streaming on 22-July and did great! This long-gestating project—it’s been at every studio for years, and came close to getting a greenlight at Netflix—then finally came to theaters in June, and showed up on streaming less than two months later. (I don’t love this short theatrical window.) It surprisingly grabbed nearly 20 million hours on its debut: That means, wait for it, Masters of the Universe is currently the eighth biggest film on streaming through two weeks. My rough bar for “hit” is shows or films in the top 15%. Ergo…Masters of the Universe is a legit, streaming hit! (One quick caveat: if it falls out of the top ten next week, it will move to 13th overall, just on the edge of the top 15.) Of course, that’s the data for just 2026. Here’s how it stacks up to Prime Video’s theatrical films: That drop into its second week is typical for Amazon films, but also a worrying sign. I have a feeling interest in this film is front-loaded and we’ll see it drop off after this. As for Mortal Kombat II, in this case, the viewership numbers roughly match the theatrical outing, with only 4.1 million hours in its first week. Here’s how it stacks up to other HBO Max films: The best defense of this number is that, as a relatively violent rated-R film, Mortal Kombat II never had a good chance at breaking out. So now it’s time for a little big of “Entertainment Nuance Guy”: First, yeah, my headline is obviously facetious, since Masters of the Universe besting Obsession says more about horror as a genre than it does that film. Second, I read and listened to quite a few “nobody wanted this IP” takes about Masters of the Universe, and that’s not really true. At least enough people wanted it to power a 20 million+ hour debut! Third, both this film and Mortal Kombat II were considered “average” by viewers, but not great films, with a 6.4 and 6.3 respectively on IMDb. That’s just shy of the level needed to be a word-of-mouth hit. Fourth, in the olden days, strong word of mouth could transform a box office miss into a cable/DVD hit, like Austin Powers or The Shawshank Redemption. We haven’t seen a lot of examples of that on streaming, though. And there are far fewer ways to monetize the post-theatrical life of a film these days. Fifth, Prime Video has shown an ability to push their own titles well, likely because they control the Amazon Fire TV ecosystem. Add it all up, and here’s my nuanced take on Masters of the Universe: it was a box office bomb, but, shockingly, a streaming hit. Unfortunately, while being a theatrical hit saves your film financially, being a streaming hit does not. Both Masters of the Universe and Mortal Kombat II had big budgets and needed to make more money in theaters to justify them. So…Straight-to-Streaming or Theaters? We’ve hit a really fun point in the streaming calendar, since the films that came out in theaters in April, May, and June are now arriving on streaming. So the “Do theatrical releases help streaming performances?” question is gonna get a fresh round of updates nearly every week. No single week will answer the question, but we may get some insights. For example, so far in 2026, it looks like theatrical films are lasting longer on the weekly Nielsen film charts. Here’s a list of films that have made the charts in their fourth or fifth week of release, separated by “for kids” and “general entertainment”: It certainly seems like theatrical films are lasting just a pinch longer on the charts, with Project Hail Mary being the current five-week champion. One Battle After Another did well for HBO Max too, and even The Sheep Detectives made it four weeks. The only exception to this trend? Obsession, which only lasted two weeks on the charts. You might tempted to overreact to this news. Don’t. Obsession is a huge horror hit, but horror just doesn’t do as well on streaming. By the way, here’s the Google Trends for various theatrical and stremaing films: Plus, when it comes to Netflix in four months, Obsession may have another big boost. Quick Notes on Film Note that when I write, “the streamers have pulled back on straight-to-streaming films” that doesn’t mean “abandoned” because Netflix is gonna Netflix. On 24-July, they released 72 Hours, a Kevin Hart comedy. Along with Eddie Murphy, Mark Wahlberg, John Cena and Adam Sandler, Kevin Hart is a streaming film star now. Did this latest one work? Not really. It only garnered two weeks of 13.2 and 12.2 million hours on its debut, well below the 20-million-hour hit threshold. It also was poorly received critically—a 44 on Metacritic—and by customers—a 5.4 on IMDb on 21K IMDb reviews. We’re just getting started with this issue, but the rest is for paid subscribers of the Entertainment Strategy Guy, so if you’d like to find out… The latest Netflix true crime doc to pop on the charts… How The Bear finished its run… Netflix’s latest Western to return to streaming… What Paramount+ animated film flopped… And what sitcom also missed… All the flops, bombs and misses… And a whole lot more… ...please subscribe! We can only keep doing this great work with your support. Coming Soon! I’m behind by a week, so we’ve got two issues coming your way this week, including one in a couple of days or so, then we’ll be all caught up**.** Next issue, inspired by The Super Mario Galaxy Movie coming to Peacock, I’m going to take a look at the workhouse of streaming TV: kids films. Plus The Devil Wears Prada 2 continues theatrical films’ big run on streaming. All that, plus another surprise hit on Hulu, Lioness on CBS, and a whole lot more. Long term, LeBron James is filming his own “Last Dance”-style docu-series, surprising no one. But as I’ve been writing about a lot this summer, this genre is really overrated, so whoever ends up buying it (reportedly ESPN) really shouldn’t pay too much for it.
gamescom 2026’s Steam wishlist winners
gamescom wrapped up last weekend, and it was bloody fantastic. It really felt like the industry had a spring in its step again. The show itself was BUZZING, with 368K attendees (+3% over last year), maxed-out exhibit space, and Opening Night Live pulling over 78M online views (+7.5%). Let’s have a look at the games at the event that brought in the most new Steam wishlists between August 23 and 30. One quick thing before we start, and stop me if you’ve heard this one before, but wishlists are NOT a barometer for launch sales (they’re bookmarks, not baskets is what we always say over here at Alinea). With that aside, wishlists are a nice gauge of hype, so let’s dive in. Witche(r)s and Warlocks take the top two spots The biggest game of the event (by new wishlists, anyways) wasn’t a game at all. It was an expansion. The Witcher 3: Wild Hunt’s upcoming expansion, Songs of the Past, nabbed 451K Steam wishlists by the end of the weekend. It’s a big example of something we bang on about constantly: proven IP with built-in fandom is the most powerful force in this market. But said IP can also ripple into other external success stories (more on that later!). Anyway, Songs of the Past debuted at Opening Night Live, and it’s the first Witcher 3 expansion in over a decade, landing next year after a full Witcher 3 remaster (free for existing owners!) arrives next month. The Witcher 3 has sold around 66M copies, and I’ll be one of those owners jumping back in to refresh myself on the core game (like there isn’t enough to play!), then play the expansion next year. This is all part of CDPR’s plan. The studio is clearly whetting everyone’s appetite for The Witcher 4 in 2028 via a classic bridge strategy. Want more free estimates and insights in your inbox twice a week? Subscribe below! Subscribe Releasing a free 4K remaster next month – followed by a proper expansion in 2027 – keeps IP top-of-mind across a huge gap between content (games-wise, anyway). It kind of echoes Capcom’s evergreen catalogue strategy. And outsourcing co-development to Fool’s Theory (a studio led by trusted Witcher 3 veterans) keeps CDPR’s internal headcount focused on The Witcher 4. #2 by wishlists between Aug 23 and 30 went to another giant IP: Warlock: Dungeons & Dragons, published by Wizards of the Coast and developed by Invoke Studios (a team of ex-Far Cry, Watch Dogs, and Splinter Cell devs). It’s due to launch in 2027, and it looks brilliant so far. It’s a dark-fantasy open world with third-person spell-slinging. It’s a very Witcher-ish aesthetic. As you might expect, 48% of Warlock’s Steam wishlisters have played Baldur’s Gate 3, and 46% have played The Witcher 3. One to watch. For sure! Mash-ups: Anime GTA (!?) and a city-builder for kids (and adults) Ananta took #3 with 302K new wishlists. It’s an open-world game that looks like GTA and Persona had a baby. It was published by NetEase, developed by Naked Rain, and got a trailer at Opening Night Live. I got hands-on at the show, and it wears its influences openly; there’s literal web-slinging (very Spider-Man) and a LOAD of mini-games (Like a Dragon). It’s free-to-play and out in January. For Ananta, Naked Rain is taking the free-to-play, cosmetics-only route. That’s certainly a choice for a single-player open-world game. Without gacha mechanics driving high ARPU, Ananta is betting purely on top-of-funnel reach and long-term retention. This puts pressure on skin appeal when there’s no multiplayer lobby to flex in (although, co-op is reportedly coming later). Want more free estimates and insights in your inbox twice a week? Subscribe below! Subscribe Then there’s Lego Skylines (273K wishlists between Aug 23 and 30), which does exactly what it says on the tin. It’s a cosy Lego twist on the city-builder genre, as shallow or as deep as you fancy (five min quick sesh or ten-hour no-lifer session; latter for me). There’s some family-friendly stuff in there like couch co-op, which is only really viable on console. Iceflake Studios, which Paradox acquired back in 2020 is developing this one. So Paradox is probably looking for a family-friendly onramp to its rad Cities: Skylines games. The overlap there is plain, with 33% of Lego Skylines wishlisters having played Cities: Skylines and 16% Skylines II. There’s no doubt plenty of parents here (and uncles, ahem) planning to indoctrinate the next gen of city-builders. I’ll definitely be playing with my youngest nephew. This one could be big and educational. I’m very curious to see more. Want more free estimates and insights in your inbox twice a week? Subscribe below! Subscribe Mature IP, new and old, rounds out the list As for the rest of the list of gamescom games by new wishlists between Aug 23 and 30: Heroes of Might & Magic III Remake got 189K new wishlists. It remakes the iconic 1999 turn-based-strategy classic in full 3D and 4K. It follows this year’s Heroes of Might & Magic: Olden Era (~1.8M copies sold, as per our estimates), and around a quarter of the III Remake wishlisters have played Olden Era, including 7% of them this month. Wardogs – a $40 PvP shooter – added another 146K to an already massive pile (nearly 1.6M total). It’s published by Team17 and made by Bulkhead. It plays somewhere between the tactical squad stuff of … Squad and the all-out-chaos battlefield of … Battlefield. It’s up to 100 players, and it’s out in about 10 days. It’s already pre-sold over 500K copies on Steam ($16.6M), boosted by a pre-order-only beta. It sold another 70K copies during gamescom, too. Afterworld managed 121K new wishlists. It’s a Paradox-made post-apocalyptic grand-strategy game, and it was announced at the show. It’s a departure from Paradox’s usual historical stuff, and the studio’s first new setting in over a decade. The Paradox purists are into it, with over half its wishlisters having played Hearts of Iron IV (19% this month) and 41% Crusader Kings III (17% this month). Metro 2039 got 110K during the show, tunnelling its total past 1.3M. Nearly 40% of wishlisters have played 2020’s Metro Exodus, the previous mainline title in the series. The Metro novels are Russian, dev 4A Games is Ukrainian, and it’s set in Moscow, so it’s unsurprising that – after the US (17.3% of wishlisters) – the next two countries are Russia (12.7%) and Ukraine (10.0%). The Blood of the Dawnwalker drew in (the blood of) 108K new wishlisters, now totalling an impressive 1.7M (at a $70 price point, though). It’s an open-world dark-fantasy action-RPG set in 14th-century Europe (with vampires!), made by some former Witcher devs at Rebel Wolves. Again, it shows. Over half of Blood of the Dawnwalker’s wishlisters have played The Witcher 3, and its #2 market is Poland, home of Rebel Wolves. That’s that hometown-hero effect we keep banging on about again! And Blood of the Dawnwalker plays very well, by the way. While it looks like a Witcher clone on the surface, it actually brings a lot to the table mechanics-wise. I love the whole time-as-a-currency spin on RPG gameplay. It gives the game a different, refreshing pace. Essentially, you start Blood of the Dawnwalker with a pool of 480 action points spread across 30 days and 30 nights. As for how the game performs, we’ll be posting some numbers next week, so hit subscribe below to get that in your inbox when it’s ready. Subscribe The Witcher’s legacy ripples Make no mistake: on a high level, this was The Witcher‘s gamescom. The #1 game by wishlisters was a Witcher 3 DLC. Warlock is clearly Witcher-inspired – as is Blood of the Dawnwalker, which was made by ex-Witcher devs. There was a lot of other cool stuff on the floor that we’ll no doubt be covering in subsequent newsletters, though! As always, wishlists went through the roof for sequels, remakes, DLC, and licensed IP. As always, though, these wishlists will likely convert to about 5% to 10% of launch-day buyers, with the probable exception of The Witcher DLC – the exception that proves the rule. Either way, we’ve got a nice, diverse list here – one that is very Witcher-y, Paradox-y, and – if you’re a fan of great games on Steam – a bloody good list. We even got a bunch of new IP to get excited for. Great gamescom! Even if we are still processing that unfathomable number of mini Kölsch beers! One more thing: GTA 6 broke the internet (again) Move aside, Spider-Man and The Odyssey (I love you both, really). But the decade’s defining entertainment zeitgeist is round the corner. Unless you’ve been living under a rock, you’ll know that Rockstar dropped an extended look at GTA 6 last week. It was INSANE, the most impressed I’ve ever been by a showcase like this. You can see the budget seeping through every second of the extended look, and this level of game is unobtainable for any other publisher. Everyone’s going nuts, and rightly so. GTA 6 is out in holiday 2026, and it’ll be the biggest entertainment release ever, full stop. For those without a PS5 or Xbox Series console, a $500-$900 console is a big ask in this economy, but GTA will pull a lot of last-generation-console fence sitters over the current-gen fence either way: The autumn timing puts GTA 6 on (digital) shelves for the holidays, meaning a PS5 or Xbox (let’s be honest, mostly the former) will be on many a Christmas and Hanukkah list. Demand will outweigh the struggling supply, though, and PS5 Pros are already sold out and being sold at a markup via scalpers. Every console that isn’t on a shelf is a sale deferred or lost, and worse, it hands scalpers the margin. GTA has cultural clout that reaches everyone. It’s been a mainstream fixture since 2001’s GTA III and its clout has only grown exponentially since then. There’s a touchpoint for every generation alive. The FOMO-word-of-mouth double punch does the rest. Loading... It’ll reactivate the lockdown cohort, the millions who picked up gaming in 2020-21 and churned. GTA 6 will bring them back. Remember when College Football 25 brought a bunch of US gamers to current-gen consoles? GTA will do that globally. Once they’re back (or upgraded), and all GTA’d out, the fresh current-gen-console folks will check out the rest of the current-gen catalogue they missed. GTA Online, if not free to play, will also lead to a boost for PS+ and Xbox Game Pass, another boost for the ecosystem players. Want more free estimates and insights in your inbox twice a week? Subscribe below! Subscribe Even some of the smug PCMR 60FPS crew won’t be able to resist their FOMO and will bite the bullet on a console to play this one early (then double dip). The consoles cost the same as a decent stick of RAM these days anyway lmao… Don’t get me wrong, though. GTA 6 is no silver bullet for the mature console market, but it does prime the current gen for a couple of strong swan-song years. And it’ll also give the consoles more users from which to maximise ARPU. ‘’We are in the latter half of the lifetime cycle of [the PS5],’’ said Sony President and CEO Hiroki Totoki in a Wall Street Journal interview. ‘’That means we do not need to aggressively sell the console today; rather than that, we are focusing on the current revenue from the current user base.’’ The biggest, best premium games always arrive late in a console cycle, so getting more players aboard now, ahead of that content storm (the new current-gen-only Call of Duty included), is a clear win for the platforms. On the Netflix thing, though: let’s all chill out a bit, like. Half my LinkedIn feed was going bonkers treating the reveal debuting on Netflix like it’s the future of entertainment. It wasn’t. It was a six-hour head start, and Netflix left that detail out of the “first-of-its-kind partnership” press release. The extended look hit Netflix at 3pm ET on 27 August, then went up on YouTube and Rockstar’s site for everyone six hours later. And it was all over social immediately, anyways. This reveal was going to reach an untold number of people whether it debuted on Netflix, YouTube, a Times Square screen, or a group chat. The last trailer did nearly half a billion views in a day with no gatekeeper at all. Netflix just stood next to that audience for six hours, borrowing it. It’s was a tidy deal for Netflix, sure. But every outlet on earth was breaking the thing down frame by frame by the evening anyway. Anyway. I’m hype. And we’ll be covering some GTA numbers on the newsletter soon. So hit subscribe below to get that in your inbox when it’s ready! Subscribe The last word Reply to this email – or reach out here – if you have any feedback for the newsletter – or want to request a game for us to cover. [Alinea Analytics boasts the most accurate PC and console estimates in the business. Game makers use our platform to understand their audience, keep an eye on the competition, monitor sales trends, and spot new opportunities. We equip game studios and financial institutions with accurate data and the confidence to make smarter, data-driven decisions. Want to talk about all things games market data? We’d love to chat!]
NASA Roman’s Planet Imager Has Powered On
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‘Most’ of Star Wars Zero Company studio Bit Reactor was furloughed ahead of launch
Last week was meant to be a moment of triumph for Bit Reactor, the Maryland-based game studio founded in 2021 with ambitions to create a great new tactical combat game. On Thursday, August 27, Bit Reactor’s debut title, Star Wars Zero Company, released to stellar reviews. And, from the Gamescom show in Cologne, Germany, studio co-founder Greg Foertsch was giving interviews discussing what the studio’s next game may be. But for many developers on the game, launch has been bittersweet. Fans love it. Critics prefer it to most recent Star Wars games. Zero Company, which is out for PS5, Xbox Series consoles and PC, is the top-selling game on Steam. Much of the team that made it, however, is currently going without pay. They were furloughed, just weeks ahead of the game’s launch. A rep for Bit Reactor confirmed to Game File today that the studio had furloughed many of its workers prior to the game’s release. They said it was a difficult decision and one that had been made before it was clear how launch would go. The rep emphasized that the call to do this was Bit Reactor’s alone (meaning not from publisher EA nor Star Wars license holder Disney). While the rep declined to comment on the scale of the furloughs, a previously unreported lawsuit brought by studio co-founder Alison Kelly in 2024 noted in a filing from August 12 of this year that Bit Reactor “has furloughed most of its employees and terminated contractors…” One source told Game File the furloughs impacted 80% of the team; another referred to there only being a skeleton crew left on Bit Reactor’s active payroll, ready to address any of Zero Company’s post-launch bugs. The issue is that Bit Reactor, a studio formed in 2021, had run out of most of its money just ahead of the launch of its first game. Over the weekend, Zachariah Scott, a senior technical artist who worked at Bit Reactor from early 2023 until an acrimonious exit this past May, said on LinkedIn that the studio was “concealing the fact that the team was Furloughed weeks ago.” Reached by phone today, Scott told Game File that he spoke to nearly a dozen Bit Reactor workers over the weekend. “Everybody has essentially the same story, which is, ‘Yeah, I got furloughed three weeks ago.” The Bit Reactor rep told Game File that the studio hoped to bring furloughed workers back, suggesting that a successful launch of the game could be impactful. Scott told Game File that workers he spoke to were less confident that even if there were returns, that all who were furloughed would get their old jobs again. A heated dispute Bit Reactor’s mid-2026 was almost even more tumultuous. The lawsuit by co-founder Alison Kelly that first revealed the furloughs was initially slated to go to trial in June. The suit is a she-said/he-said about whether Kelly, until 2024 the chief operating officer of Bit Reactor, was a co-owner of the studio or whether it was solely owned by Greg Foertsch. In July 2024, Kelly sued, saying she was pushed out by Foertsch. She first sued in federal court and later refiled in Maryland’s Baltimore County, alleging breach of contract and that Foertsch had unjustly enriched himself. Kelly cited damages of over $20 million, on the basis of Bit Reactor allegedly being worth more than double that. Foertsch’s side has said Kelly was never a co-owner and has countered with claims about her job performance (which she has denied). The June trial was postponed until early 2027, as both sides have been deposing witnesses and filing more claims and denials along the way. Amid all of that, filings in the lawsuit reviewed by Game File paint a picture about Bit Reactor’s origins, early aspirations around tactics games, the team’s breakthrough in drawing the attention of Electronic Arts with the help of a pitch tied to one of EA’s non-Star Wars franchises, and early fractures among its co-founders. The real story about the company behind Zero Company
Ernst Names Small Business of the Week, The Bread Board
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Six Films Preserved from the Father of Forensic Science
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Kelly Clarkson says goodbye to her talk show after a successful 7-year run
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Kelly Clarkson says goodbye to her talk show after a successful 7-year run
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Business academy graduate opens restaurant in Cambridge
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Seoul National University of Science and Technology develops AI framework to test and improve vision-system robustness
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Robinson's rhythmical action reminiscent of McGrath
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How Apple Stumbled Into AI Hardware Success With the Mac
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Colorado Sues EarnIn For “Immoral, Unethical, Oppressive and Unscrupulous” Business Practices
Hey all, Jason here. When this hits your inbox, I should be en route to the airport — not to go anywhere myself, just to pick up my better half. I must admit, it’s been strange to be home alone (well, with two dogs) for two weeks! Really lets me “optimize” to spending more time on reading/writing/working, whether that’s healthy or not! Looking forward to getting back into a (somewhat) more balance routine. Subscribe or Support by Upgrading Compare Notes With the People Who Built Modern Fintech Partner content: Remitly CEO Sebastian Gunningham. Increase founder Darragh Buckley. Linda Du, Co-founder & President at Valon. They’ll unpack the decisions behind building and scaling major financial products: what they got right, what broke, what they would do differently, and how AI and new infrastructure are changing the operator playbook. Most events tell you where fintech is going. NerdCon puts the people who built the present in the room and asks them what comes next. Expect an operator-led conversation grounded in real products, real trade-offs and lessons earned the hard way. Fintech Business Weekly readers save 20% on Regular tickets with code FBW20 before standard pricing ends September 11. Meet the Builders Things To Know & Other Good Reads Advent and Stripe Abandon $50 Billion Pursuit of PayPal (Bloomberg) Trump Family’s New Crypto Bank Is Backed by Abu Dhabi Sheikh (Wall Street Journal) The multiplying risks of financing data centres (FT) Let the Bond Market Speak (Wall Street Journal) Did we waste a crisis? Modest proposals to reform deposit insurance. (Fintech Takes Banking) Untangling Guggenheim: How Private Credit Built Its Own Universe (Net Interest) The Hater’s Guide To Circular Financing — Part One (Ed Zitron) Fiat Ventures Rebrands to FGV Capital, Announces $35M Oversubscribed Fund II (BusinessWire) Socure Announces Strategic Growth Investment at $5.2B Valuation and Acquires Agentic Operations Platform Fravity (Socure) Listen: When Consumer Protection Disclosures Work Too Well (Consumer Finance Monitor Podcast) Colorado Sues EarnIn For “Immoral, Unethical, Oppressive and Unscrupulous” Business Practices When Andreessen Horowitz led EarnIn’s $39 million Series B in 2017, Alex Rampell, a partner at the storied venture capital firm, described EarnIn’s small-dollar advance product as “free,” relying on “entirely on voluntary contributions instead of fees.” Rampell favorably compared EarnIn’s approach to typical payday loans, writing, “Payday loans historically have had the potential to be a slippery slope for consumers into financial distress: opaque systems and steep fees that are hard to repay and set individuals back further than where they started. For many Americans living paycheck to paycheck, that kind of slide into debt can be extremely difficult to recover from.” But EarnIn’s product — which, the company says, isn’t a “loan,” legally speaking — ends up being anything but free for most users. While it is technically possible to take a no-fee advance from the company, most users incur “Lightning Speed” (instant funding) fees and/or ostensibly optional tips that combined can equate to annualized percent rates that can reach over 1,000%. With an average term of 9.77 days, even fees and tips that are small on an absolute dollar basis are equivalent to high APRs on an annualized basis. A lawsuit filed last week by Colorado Attorney General Phil Weiser against EarnIn describes the company and its product and business practices quite differently than Andreessen’s Rampell; “EarnIn’s business practices are unfair because they are immoral, unethical, oppressive and unscrupulous,” the complaint, filed in District Court in Denver, Colorado, says. EarnIn’s marquee product, Cash Out, isn’t a loan, the company says, as Cash Out is not “[f]orward [l]ooking” because “[t]he money is transferred based on earnings to date,” does not carry a mandatory fee to access funds, and is “non-recourse,” meaning EarnIn cannot pursue recovery from users who don’t repay advanced funds. EarnIn is sometimes referred to as an “Earned Wage Advance” service. Though, unlike some others in the broader category, EarnIn does not integrate with employers’ payroll or time and attendance systems. Rather, EarnIn attempts to verify a user’s income and employment, by examining direct deposit transaction data in their linked external bank account, by using GPS location and Bluetooth data to estimate a user’s time spent at work, if they work in a fixed location, and/or by having a user provided a work email address. While repayment is theoretically optional, as EarnIn would have no recourse, such as reporting non-payment to the credit bureaus or a collections agency, this is anything but clear to users of the EarnIn app, Colorado’s complaint argues. During the process of taking a Cash Out, users must agree to a preauthorized debit of the amount advanced, plus any expedited funding fee and/or tips. Though users technically can revoke this ACH authorization, the fact that they have this right isn’t presented to users during the Cash Out process, but rather is included in linked terms and conditions few users are likely to actually read. And users who do wish to revoke their ACH authorization must do so three or more days before the scheduled transaction date by emailing EarnIn’s customer support. Similarly, EarnIn’s marketing claims that it carries “no interest” and “no mandatory fees” is technically true, but is not the reality for many of the app’s users, the Colorado complaint argues. Further, EarnIn has extensively marketed to users the ability to “access your pay today,” to get “instant” funds, and to get funds “the same day you work” — when, in reality, this speed of access was only possible by paying the additional, undisclosed Lightning Speed fee. The Colorado complaint highlights this contradiction specifically, noting: EarnIn tells consumers that they can ‘Make any day payday with EarnIn’ and that there no ‘hidden’ or ‘mandatory fees.’ For a consumer to access their pay on the same day requested, they would have to pay the Lightning Speed fee. In the fine print of the advertisement EarnIn discloses that ‘[f]ees apply to use Lightning Speed,’ a direct contradiction to the larger text of the advertisement, and a fact that would not be immediately understood by a consumer as ‘Lightning Speed’ is not defined nor explained. Like other small-dollar lending services, rather than explicitly charge interest, EarnIn collects a markup on the optional Lighting Speed fee, which, given the nature of the transactions, many users opt for, as well as offering users the option to leave “tips.” EarnIn leverages either Real-Time Payments (RTP) rails or push-to-card via debit rails if a user opts for the optional Lightning Speed. But while these capabilities cost EarnIn, on average, $0.075 or $0.20 per transaction, respectively, EarnIn charges users significantly more. Initially, EarnIn charged as little as $1.99 for Cash Outs up to $24. But EarnIn has hiked these fees multiple times, and now charges $4.99 for Cash Outs up to $75 and $6.99 for those over $75. According to the Colorado complaint, EarnIn leverages “dark patterns” to manipulate users and to make it more difficult to avoid tipping. Examples of these “road blocks” highlighted in the complaint include: As of 2023, in the EarnIn app, a consumer attempting to get a loan under the default settings had to make at least eighteen separate taps to complete the transaction and reduce the tip to $0. There is an alternative method to leave a $0 tip, via the “Custom tip” feature, but EarnIn made this option difficult to access by visually deemphasizing it and positioning it near devices’ “home” button. Using language and imagery such as “Tip to pay it forward,” “Your generosity supports the service + helps,” “Your tips make a difference,” and “[t]he APR for this cash out is 0%. Your tips help support us.” While Lightning Speed and tipping are, in theory, both optional, in practice, users nearly always ended up paying something. According to the Colorado suit, users were charged either a tip or an expedite fee for more than 92% of transactions, with an average APR of nearly 388%. And, although the advances are “non-recourse,” EarnIn successfully collects on nearly all transactions — 99.18%, according to the complaint, which, Colorado argues, “demonstrat[es] that EarnIn’s advances function as high cost loans, not voluntary payments.” The share of EarnIn users incurring fees — despite the product being marketed as 0% APR — is hard to reconcile with Andreessen investor Rampell’s favorable description of EarnIn vs. “opaque systems and steep fees” associated with payday loans, which, Rampell says, can be “extremely difficult” for borrowers to extricate themselves from. According to Colorado’s suit, EarnIn’s Cash Out product “trapped many consumers in extreme cycles of high-cost reborrowing.” The suit gives an example of one consumer in the state, who took out a whopping 1,151 loans, paying a total of $4,038.50 in Lightning Speed expedited funding fees on loans that averaged the equivalent of 1,421% APR. Another Colorado user, the suit says, took out 1,033 loans, paying $8,561.22 in tips and fees at an average APR of 1,539% . These types of usage patterns demonstrate “the severe and repeated financial harm caused by EarnIn’s illegal lending model,” the Colorado complaint argues. In aggregate, from January 2023 through July 2025, EarnIn extended 3.1 million loans to 56,778 users in Colorado — an average of nearly 55 transactions per person during the time period. EarnIn lent more than $300 million and collected more than $16 million from Colorado users in Lightning Speed fees and in tips. Ultimately, the Colorado complaint argues that “EarnIn’s Cash Outs are loans under Colorado law, and EarnIn’s contention that its product is not a loan based on its disclaimer of any legal repayment obligation lacks any real-world significance given how the Cash Out transactions actually operate in practice.” Colorado further argues that “EarnIn was not working with companies here in providing consumers with funds but acted as a third-party lender and charged illegally high rates, used deceptive design strategies to extract some charges, and trapped consumers in repeat borrowing. Colorado will continue to stand up for consumers and hold companies accountable when they violate our credit laws or attempt to evade them through misleading practices.” Colorado’s suit alleges EarnIn assesses finance charge in excess of that permitted by Colorado law, that EarnIn failed to make legally required disclosures to Colorado borrowers, that EarnIn made supervised loans to consumers without obtaining the requisite license, that EarnIn violated the state’s Deferred Deposit Loan Act, that EarnIn engage in unfair and deceptive trade practices, and that EarnIn made false or misleading statements concerning price. The suit seeks a court order enjoining EarnIn from violating relevant Colorado laws, for EarnIn to refund amounts charged in excess of state law, fees, costs, and penalties, and other relief the court deems to be just. Fintech Business Weekly is made possible by the generous support of paying subscribers — bringing you independent analysis of banking, fintech, and crypto without fear or favor. You can support my work by becoming a paying subscriber if you aren’t already. Paying subscribers enjoy: access to the entire archive of nearly six years of newsletters extended versions of the weekly newsletter, with additional content and analysis and (for founding member tier) quarterly personal 1:1 fintech Q&A / strategy calls with me, tapping into my unparalleled knowledge of the intersection of banking and fintech and experience working in the sector, including helping to launch Goldman Sachs’ retail bank Marcus Support Fintech Business Weekly You can also support Fintech Business Weekly by sponsoring a newsletter or podcast, putting you in front of 93,000+ of the most influential decision makers in banking, fintech, and crypto. Learn more about sponsor opportunities or request a media kit by dropping me an email. Q2 Quarterly Banking Profile: Five Quick Takeaways The FDIC released its quarterly banking profile, which is always worth a read, for the second quarter. The profile provides an aggregate snapshot about the overall health of the 4,238 institutions whose deposits are insured by the FDIC, who, collectively, hold more than $26 trillion in assets and saw a total net income of more than $90 billion in the second quarter. Net income was up 12% vs. Q1 2026, with lower provisions and realized gains on securities helping to drive the improvement, somewhat offset by increases in non-interest expense and applicable income taxes. Overall net interest margin was basically flat quarter over quarter (up 1 basis point vs. Q1 2026), though community banks saw NIM grow by 10 basis points, to 3.81%. Unsurprisingly, given that interest rates haven’t changed, unrealized losses on securities changed little, edging up slightly to $326.7 billion vs. $325.1 billion in Q1 2026. Aggregate credit quality has remained benign, with asset quality actually improving slightly in Q2. Overall, institutions reported a 9 basis point decline in their past-due and non-accrual rate, to 1.44%. Net charge off rate also declined by 2 basis points, to 0.57%. And finally, the FDIC’s deposit insurance fund stands at $161.1 billion, making the DIF reserve ratio 1.48% — above the statutory minimum of 1.35%, but still below the designated target reserve ratio of 2%. [Paid Subscriber Exclusive] Nissan Withdraws ILC App, State Associations Plan BankChain Alliance, FDIC Defines “Unsafe or Unsound Practice” For First Time Automaker Nissan withdrew its application to charter a Utah industrial loan company and its corresponding application to the FDIC for deposit insurance last week, on August 19th. Nissan’s application had been outstanding for more than a year, as it originally applied in June 2025. Recent applications to the OCC to form national banks have been decisioned, one way or the other, substantially more quickly than has historically been the case.
"Digital Entertainment Leadership Forum 2026" Concludes Three-Day Run with Over 4,000 Participants Exploring Al's Role in Reshaping Digital Entertainment and Cultural Creative Industries
HONG KONG SAR – Media OutReach Newswire – 30 August 2026 – The annual flagship event Digital Entertainment Leadership Forum 2026 (DELF 2026), organised by Cyberport, concluded successfully today. Under
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